Carlos Madrid III, a senior designer at the Los Angeles branch of Skidmore, Owings & Merrill (SOM), has been lovingly renovating his white plaster bungalow-style home for the past two years. Originally built in 1912, the residence was the living quarters for migrant farm workers. With just 800 square feet, Madrid’s main objective was to make the home more usable and comfortable. “I wanted to capitalize on the Southern California lifestyle,” he said. To accomplish this, Madrid installed LaCantina’s aluminum 3-panel bi-fold doors. The doors flexibly swing inside and outside in multiple open and closed positions—anywhere along the spectrum from wide open to completely closed. The system is equipped with a concealed multi-sealed lock, giving the architect freedom to fully open their home and the security to thoroughly close it. In effect, Madrid made the space more usable by opening up the living areas to create the illusion of increased square footage. “This window system blurs the lines between the inside and out, while increasing the perceived size of the living and dining areas,” said Madrid. Location Los Angeles Architect Carlos Madrid III Contractor Steven Fiske Wall System Aluminum Bi-fold System by LaCantina
Posts tagged with "SOM":
Developer Sterling Bay released additional details and renderings by Skidmore, Owings & Merrill for the Lincoln Yards mega-development during a packed public meeting in Chicago’s 2nd Ward on July 18. A master plan of the site was also introduced, as well as some eyebrow-raising figures: 5,000 residential units, 500 hotel rooms, 23,000 on-site jobs, 13 acres of public space, 1 mile of new riverwalk, and a 1,300 feet extension to the 606, as well as the potential for the construction of multiple skyscrapers reaching up to 800 feet, or approximately 70 stories. The project currently encompasses 52 acres of the industrial corridor between Lincoln Park and Wicker Park, the result of three years of calculated land purchases by Sterling Bay along the Chicago River and within the area of the north side bordered by North Avenue, Elston Avenue, Webster Avenue, and Clybourn Avenue. If implemented as proposed the project would have a prodigious effect on the north branch of the Chicago River and multiple north side communities, businesses, and pieces of infrastructure. It would be an instant neighborhood created by a single developer. The development is presented with two distinct spatial components: The residential and commercial structures, as well as the proposed skyscrapers, will be constructed north of the bend in the Chicago River, while the south side will house the entertainment venues and recreational space. While the north side is now vacant land, cleared of the former A. Finkl & Sons steel plant last year, the south still has existing buildings with an enclave of small businesses immediately to the west, a combination of mixed-use manufacturing buildings, retail, restaurants, and bars, including Chicago’s iconic Hideout music venue. Despite the long transition to contemporary development, old-line manufacturing is still prevalent within and along Lincoln Yard’s proposed borders, and the General Iron Industries scrapyard is located prominently across the river. While General Iron Industries plans to move operations to the southeast side in 2020, some local businesses have made it clear that they intend to stay as the development of the project begins, as the Chicago Tribune reported. Sterling Bay has pledged to conduct traffic studies and congestion mitigation at area intersections but is also proposing to remove several small streets and easements in favor of a new diagonal thoroughfare, Dominick Street, that would cut across the center of the development. However, the development's approach of creating Loop-style density from scratch has yet to be tested, and with congestion already a nuisance at the existing site, the addition of 5,000 residential units, hundreds of hotel rooms, and a 20,000-seat soccer stadium will likely prove problematic for those living in surrounding communities that are defined primarily by two– and three–story vernacular structures and are the result of an ever-evolving architectural and cultural narrative. Sterling Bay has pledged to provide affordable housing and retain some of the historic industrial features of the area, such as truss bridges, but has not articulated how that will occur outside of the development following applicable laws. Sterling Bay intends to pursue local and federal funds to make infrastructure improvements, including changes to roadways and mobility systems. The federal assistance would require that the project complies with all local, state, and federal environmental and historic preservation laws before ground is broken, a process that will ultimately resemble the review required to construct the Obama Presidential Center in South Shore. The developer has also yet to provide additional detail on the proposed 23,000 permanent jobs, or whether the project area will increase as additional land becomes available. The proposal is expected to be filed to city council as soon as the end of July.
The widely-traveled exhibition titled Poetic Structure: Art + Engineering + Architecture showcasing the engineering and design legacy of Skidmore, Owings, & Merrill (SOM) will be on display at the MAK Center for Art and Architecture in Los Angeles starting this weekend. The sprawling exhibition will bring a large 12-foot-by-27-foot pavilion to the grounds of the Schindler House, presenting a doubly curved kinematic structure stiffened with wood panels and metal hinges is inspired by the mathematical relationships between force and motion. The hovering pavilion is suspended by aluminum trusses and is braced with steel wires, an arrangement that can yield variously-sized configurations for the traveling show. The pavilion will also house more than 30 structural models of SOM’s grandest works. The models—built at 1-to-500 scale—compare the various structural approaches taken for projects like the John Hancock Center in Chicago and the Burj Khalifa tower in Dubai in an effort to demonstrate the similarities that exist between artistic and technical designs, and how SOM “embraces and integrates engineering into works of public art.” The exhibition will also feature a mosaic collage of hand-drawn sketches from SOM’s leadership team showcasing the firm’s ever-evolving design process. Included too will be an art installation and digital projections presenting visuals and work from globally-acclaimed artists and architects who have partnered with SOM to design large-scale public installations, according to a press release for the exhibition. Works represented include Janet Echelman’s Dream Catcher, James Carpenter’s Hope Tower, Iñigo Manglano-Ovalle’s Weatherfield, Jaume Plensa’s World Voices, and additional work by Pablo Picasso and Peter Zumthor. The exhibition will be supplemented by public programs, including panel discussions and off-site educational events. Poetic Structure is scheduled to run through September 2, 2018.
This story originally appeared in our June 2018 issue. Read the first part of our Saudi Arabia feature here. With so many large-scale projects going up and wholly new urban areas in development, it can be hard to keep track of the myriad established architecture offices working across Saudi Arabia. Here is a quick guide to some of the biggest, tallest, and most cutting-edge projects in the works across the country. King Abdulaziz Center for World Culture Snøhetta Opening 2018 Snøhetta’s King Abdulaziz Center for World Culture is the by-product of a design competition led by the Saudi Aramco Oil Company, which wanted a new knowledge incubator for Saudi Arabia to symbolize the nation’s aspirations for a diversified economy. The one-million-square-foot complex will feature a 930-seat Grand Hall as well as a cinema, library, exhibition hall, museum, and archive, among other offerings. The desert-bound structure is designed to resemble a series of stacked pebbles clad in parallel bands of metal piping. Inside, these give way to graphic, linear patterns that reveal a delicate metal structure underneath. Meanwhile, the Grand Hall's ceiling is wrapped in perforated copper panels. Jeddah Tower (formerly Kingdom Tower)| Adrian Smith + Gordon Gill Architecture; Calthorpe Associates Opening 2020 When completed, Adrian Smith + Gordon Gill’s 3,280-foot Jeddah Tower will stand as the tallest building on Earth. The organically shaped pinnacle will be the focal point of the Kingdom City development (population: 210,000), a forthcoming $20 billion economic area master planned by Berkeley, California–based Calthorpe Associates for Saudi Arabia’s west coast. The tapered skyscraper is structured to mimic desert vegetation and is built with petal-shaped apartment blocks at its base. It will also contain a hotel, commercial spaces, and a variety of observation platforms above. King Abdullah University of Science & Technology BuroHappold; HOK Completed 2009 In 2009, St. Louis, Missouri–based HOK designed and built an 8,900-acre campus for the King Abdullah University of Science & Technology in Thuwal, Saudi Arabia, in just over 30 months. The 940-student university contains some of the most advanced scientific lab equipment in the world and features 5.5 million square feet spread across 27 buildings, including two million square feet of laboratories. The labs are arrayed across four 500,000-square-foot structures designed to be “flexible building shells” with universal floor plates that can accommodate different lab setups. The structures are wrapped in horizontal metal louvers to control for glare while the campus library is faced with translucent stone cladding that casts light from within at night. Haramain High-Speed Railway Stations Foster + Partners; BuroHappold Opening 2018 Foster + Partners and BuroHappold are working on a series of transformative high-speed rail (HSR) stations across the country as the Saudi government pushes to boost regional connectivity with a new 280-mile-long HSR line with stops in Medina, Mecca, Jeddah, and the King Abdullah Financial District. Designs for the stations are meant to seed new urban areas in each locale by fusing cavernous, 85-foot-tall arched interior spaces with strategically-placed solid facades to limit solar gain, overhead bridges to create covered outdoor spaces around the stations, and direct connections to the country’s most bustling cities. The line is expected to open sometime this year and will carry 135 million passengers per year by 2042. King Abdullah Financial District Henning Larsen; SOM Opening 2020 Danish architecture firm Henning Larsen has master planned a new business district on the northern edge of Riyadh, where 59 high-rise towers are now in the works. The firm took inspiration from the city’s historic center when calibrating the positioning of each of those towers, generating a taut, tall cluster of angled and closely set monoliths. The arrangement is designed to minimize solar penetration into the city, resulting in ambient temperatures—the designers hope—up to ten degrees cooler than surrounding areas. The massive, nearly complete development area has been in the works for years and features contributions from SOM, CallisonRTKL, Gensler, Foster + Partners, and many others. King Abdullah Petroleum Studies & Research Center Zaha Hadid Architects Opening 2018 Zaha Hadid Architects (ZHA) recently completed the 750,000-square-foot KAPSARC (King Abdullah Petroleum Studies & Research Center) complex, a nonprofit research institution focused on “policies that contribute to the most effective use of energy to provide social well-being across the globe.” The honeycomb-shaped complex is designed to optimize solar and wind orientation and is made up of five buildings clustered around a series of interlocking courtyards topped by metal canopies. The complex, which opened earlier this year, was one of the final projects Hadid oversaw. Among other features, it includes a 300-seat auditorium, a library with 100,000 volumes in its archive, and an inspirational prayer area called a Musalla.
When one hears of a piece of architecture by Alison and Peter Smithson being altered, the worst comes to mind, particularly when developer Tishman Speyer promises a "wholesale re-imagining." With demolition photographs of the architects' Robin Hood Gardens splayed across every design publication and blog, this protective instinct is more than justified. Now, London firm Deborah Saunt David Hills Architects (DSDHA) has completed Phase One of such a "re-imagining" of the Smithsons' Economist Plaza. And if evidence of this first phase is a precedent for the rest, then we can breathe a momentary sigh of relief, for the project is in safe hands. Comprising a trio of buildings, all varying in height, the Economist Plaza off St James's Street is a quiet enclave in the city, a welcome respite a stone's throw away from the tourist throbbing bustle of Piccadilly Circus. It was designed by Peter and Alison Smithson for the Economist magazine and finished in 1964, a decade after the Smithsons first took to the architectural stage with the Hunstanton Secondary Modern School. Tishman Speyer's decision to employ DSDHA reflects a sensitivity to the project, something it is well-versed in through its management of other 20th century icons like New York's Chrysler Building and Rockefeller Center. Its decision to rename the complex to "Smithson Plaza" in the original architects' honor embodies this ethos. The Smithsons' contribution to architecture is enormous. As teachers, writers and academics, they were prolific. But as architects? Not so, and today, their eponymous plaza is their last remaining work in London. DSDHA has refurbished the tallest tower, renamed "Smithson Tower," which rises to 15 stories and was once owned and fully occupied by The Economist. Here, the lobby has had a facelift and the tower has new elevators, double-glazed windows, insulation and services, replacing the Smithsons' unorthodox and outdated ventilation system. A new, 1,500-square-foot public cafe (yet to be finished) has been installed on the tower's ground floor. However, this, combined with a reinstated public art program on for the plaza, heralds the danger of the plaza losing its tranquillity as it becomes both visually and programmatically busier. "We found that many people didn't even know this was a public space," Deborah Saunt, co-founder of DSDHA, told The Architect's Newspaper. Inside the upper six floors of the tower, renovation work has created 21,500 square feet of office space. Who will inhabit that remains to be seen. To its previous tenants, the vistas were a source of empowerment. "Perhaps our height also gives us greater confidence in handing down Olympian judgments on world affairs," the Economist wrote in a 2016 farewell letter after it had sold the premises for $170 million. The tower's facade has also been cleaned to reveal its pitted Portland Stone and Roach Bed stone. On the ground, the plaza has been resurfaced with granite, a material which has been allowed to flow into the new lobby where it replaces what was once concrete flooring. If you ignore the impending planters, the plaza has since become a much lighter space in a show of pure materiality. And when washed in sunlight, the tower's almost gleaning beveled edges are as tactile as any imported verdure. Only now do Skidmore, Owings & Merrill's (SOM's) 1990s interventions, adding a canopy and extending the lobby into the colonnade with glass and travertine cladding, seem horribly hamfisted. DSDHA has done well to undo some of this work, replacing the travertine with Portland Stone, for example. With the lobby gaining a new concrete bench, akin to an original external seat and now sharing materiality with the plaza, the colonnade feels primed to realize its potential as the threshold it was originally intended to be. For the time being, however, the canopy and glass frontage, spaced awkwardly close to the colonnade, remain. More changes had been planned by SOM as well, with two further stories proposed for the plaza's tallest tower. On the 13th of June in 1988, though, the plaza and its buildings were hurriedly awarded Grade II listing (the equivalent of landmarking)—a move which makes you wonder, particularly in the aftermath of the Robin Hood Gardens demolition, where the spirit to preserve architecture has gone. The Smithsons, of course, were aware of change being around the corner. In 1965, they remarked that in 200 years' time, their work "may seem an error." "But in our situation," they continued, "there is no other course but to build and to demonstrate." Even DSDHA's proposals did not come without backlash when they were unveiled in 2016. "The Smithsons’ best and last remaining London building deserves better," wrote critic Ellis Woodman in February 2017, as other architects voiced their concern. Some of DSDHA's plans have been curtailed. A proposed spiral staircase will now be a much simpler slip stair, which will lead to a new gallery space—a conversion of the former car park. These changes are due to be made in later phases as part of the addition of 4,600 square feet of retail space.
In a generous and surprising nod to the Chicago School of Architecture, David Childs with Skidmore, Owings & Merrill has designed two sister towers in terracotta and glass for the former site of the Chicago Spire. Announced Tuesday night at a community meeting by developer Related Midwest, renderings for the development show two towers rippling upwards, set upon a masonry base resembling a rectangular photo carousel. Taking inspiration from some of the cities’ most significant buildings, Childs has covered the towers in a familiar architectural form–the Chicago Window–with setbacks allowing for pivot after pivot of the form in various multiples as the building reaches higher. Glazed terracotta became a way for turn-of-the-20th-century Chicago architects like Louis Sullivan, Daniel Burnham and William Le Baron Jenney to craft ornament that could be designed to exact specifications and made hollow, allowing them to decorate the tops of buildings. Topping off at 1,100 feet, the south tower will be constructed adjacent to the riverwalk and will offer 300 condominiums and a 175-key hotel. The north tower will offer 550 apartments and will be aligned with the Ogden slip, at 850 feet tall. A shared podium will provide pedestrian and vehicular accesses for both towers. Parking will be delivered via four underground levels. In addition to luxury offerings, Related Midwest has committed to realize the completion of a long-awaited public park on a rectangular piece of vacant land, separated by Lake Shore Drive. The creation of DuSable Park will honor the legacy of Chicago’s founder, Jean-Baptiste Pointe DuSable, and realize the vision of Mayor Harold Washington for public space atop what was once a site contaminated with thorium from the manufacture of incandescent gaslight mantles. Plans for the development, currently known as 400 North Lake Shore Drive, do not specify how the construction will address what remains of the Chicago Spire, a 78-foot-deep, 104-foot-wide underground cofferdam that sits below what will be the south tower. Construction of the towers is anticipated to take four and a half years.
Developer Related Midwest has announced plans to construct two skyscrapers on the former site of the Chicago Spire, with Skidmore, Owings & Merrill’s David Childs at the design helm. While renderings for the project have yet to be released, the Chicago Tribune reports that the site calls for two multi-functioning towers, each clad in glass with setbacks that taper towards the sky. Currently known only by its address, 400 North Lake Shore Drive, the project details are to be unveiled by Related Midwest on Tuesday at 7 pm during a community forum hosted by the Streeterville Organization of Active Residents at the Sheridan Grand Chicago. Thus far, the plans call for an 850-foot tower at the northern edge of the site along the Ogden Slip, and a 1,000-foot tower located at the southern edge of the site. The shorter tower will house apartments, with the taller tower to include condominiums and hotel rooms. Both towers will be located on a podium with building amenities. The high rises will take up more space on the site than the Chicago Spire originally called for. Along with the plan for the Spire site, Related Midwest has provisionally agreed to fund a portion of the construction of DuSable Park, a rectangular 3.3-acre parcel of land east of Lake Shore Drive. First dedicated as open space by Mayor Harold Washington in the 1980s, Related Midwest has not indicated if or how the park will relate to the towers. Most notably, Related Midwest has not specified how the construction will address what remains of the defunct Chicago Spire, now a 78-foot-deep, 104-foot-wide cofferdam over a decade old, the beginnings of a 2,000-foot unicorn horn shaped supertall building designed by Santiago Calatrava. If constructed as planned, the Spire would have been the tallest structure in the country. Related Midwest recently released renderings for a 62-acre Near South Side development they are calling "The 78," a serious of mixed-use, multi-phase structures built atop the largest undeveloped piece of land along the Chicago River. David Childs, a consulting partner in the SOM New York Office, is best known for designing One World Trade Center. Other work by Childs includes 7 World Trade Center, The Times Square Tower, and the U.S. Embassy in Ottawa.
According to New York-based real estate developer RKF, 401 North Wabash Avenue in River North offers unparalleled retail and restaurant opportunities. Located just steps from Michigan Avenue, 401 North Wabash Avenue is “the perfect entertaining and dining destination,” provides “spectacular views of the Chicago River” and proximity to Nordstrom, Dylan’s Candy Bar and the Apple flagship store. A glossy marketing flyer on the RKF website fleshes out the appeal of the 66,000 square feet for lease in the 98-story building. For a potential retail tenant, there is little not to love, except for the five 20-foot tall letters spelling out the owner’s name: T-R-U-M-P. With only 1,000 square feet of the Trump International Hotel and Tower being leased out, RKF is trying a new tactic to sell the nearly three floors of empty space in the building. With the sole tenants being the Anthony Cristiano Salon and a gift shop selling Trump shot glasses and playing cards, RKF is selling Trump Tower’s positive points without using the Trump name, and even omitting the Trump sign in photographs of the building. Marketing materials for the space only note the Trump name once, on a map of neighboring businesses, in small text. Designed by Skidmore, Owings & Merrill and completed in 2008, the terrace and riverwalk spaces inside Trump Tower were never fully occupied. RKF was hired in 2014 to lease the retail space, coming on board just in time for the controversial sign to be erected, sparking a Twitter war between Donald Trump and Chicago Tribune architecture critic Blair Kamin. First floor retail space was converted to meeting and event rooms in 2015 in an attempt to make the space more marketable. Residential tenants have attempted to distance themselves from the Trump brand, and SOM refers to the building as “401 North Wabash Avenue" on its website.
The University of California, Santa Barbara’s (UCSB) new San Joaquin Villages by Lorcan O’Herlihy Architects (LOHA), Skidmore, Owings, & Merrill (SOM), and Kevin Daly Architects (KDA) opened to student residents during the fall 2017 semester. The expansive project brings over 1,000 student beds and a string of campus amenities clustered around open courtyards to the housing-starved university’s North Campus. The village master plan was created by SOM, which also completed the new Tenaya Towers—a pair of six-story housing blocks—to create 65 new, three-bedroom, two-bath apartments. For the project, SOM designed a pair of parallel towers that are oriented east-to-west that are studded with projecting balconies to help maintain passive airflow and enrich student life. SOM also added a new freestanding pavilion to a plaza located between the two towers that will contain study spaces and a recreation room. In addition, the towers are outfitted with rooftop terraces overlooking the public spaces below. The project also includes a new dinning commons by architects KieranTimberlake. The project site was reworked by landscape architect Tom Leader and Sherwood Design Engineers—which provided civil engineering and site design—to redirect stormwater runoff into new biofiltration planters and bioswales that will purify the captured water before draining it into adjacent wetlands. The adjacent North Village site is carved up into four principal parcels, with LOHA and KDA each taking two sites to create a patchwork of low-rise, interconnected housing blocks. The intentionally utilitarian accommodations are linked by acrobatic exterior circulation and shared student amenity spaces, like a handsome laundromat outfitted with operable awning windows and a spare, wood fin-clad organic market. Together, these areas bring 107 three-bedroom, two-bath apartments to UCSB. Lorcan O’Herlihy, principal at LOHA, said, “UCSB dormitories have typically pushed circulation to their exterior envelope, with an inert central courtyard accessible only from within the building. [Our] design inverts this circulation scheme, [creating] a reductive exterior edge with an open, lively interior courtyard containing all building circulation, encouraging movement throughout the complex.” The grouped structures are made up of shifting, canted geometries and are clad alternately in corrugated metal panels, wood fins, and stucco along the exterior, campus-facing areas. The LOHA-designed blocks feature painted plaster walls along the courtyard exposures. Social hubs—including reading rooms, social spaces, and dining facilities—float around the complex, projecting from second-floor perches in some instances, tucked snugly below elevated walkways in others. The units themselves are designed with passive ventilation in mind, and windows are wrapped in both vertical and shaped aluminum sunshades, depending on the orientation and structure. Overall, the multifaceted project updates campus housing, deeply embedding shared social experiences into campus life through simple ornamentation and permeability.
When the local newspaper in Columbus, Indiana no longer needed its landmark headquarters building, completed in 1971 by Myron Goldsmith of Skidmore Owings and Merrill (SOM), the future of the building became unclear. Rumors swirled, but eventually the perfect local partner—the new Indiana University (IU) M.Arch program—pulled through to take over the structure, which was designated a National Historic Landmark in 2012. The program—which is part of the IU School of Art, Architecture + Design in and will be named after Columbus native and legendary industrialist J. Irwin Miller— will begin its first year in fall 2018 with an expected 20 students. Studios and classes will be hosted in the former Republic newspaper building where printing presses once whizzed through the night in plain view of the downtown streets. IU President Michael McRobbie also announced the endowment of a full-time professorship for the M.Arch program, which is intended to draw talent to the city. "The generous gift from the president and first lady reflects their continued commitment to the School of Art, Architecture + Design," Peg Faimon, dean of the school, said in a statement. "Their support for the J. Irwin Miller Architecture Program will help attract world-class faculty to what is an exciting new academic program that will provide an outstanding education and increased opportunities to Indiana University students." The J. Irwin Miller Architecture Program is partnered with the Columbus Architectural Archives and the Institute for Coalition Building of the Columbus Education Coalition and builds on the IU Center for Art and Design Columbus, which has been operating in the city since 2011.
As a fitting kickoff to Earth Day weekend, the American Institute of Architects (AIA) Committee on the Environment (COTE) has announced the 2018 recipients of its COTE Top Ten Awards. Honoring ten projects that have surpassed rigorous thresholds in integration, energy use, water conservation, and wellness benchmarks, the award showcases cutting-edge buildings that are not only sustainable, but that contribute to the surrounding neighborhood. This year’s jury included:
- Michelle Addington, Dean, School of Architecture, The University of Texas Austin Austin, Texas
- Jennifer Devlin-Herbert, FAIA, EHDD. San Francisco
- Kevin Schorn, AIA, Renzo Piano Building Workshop, New York
- Julie V. Snow, FAIA, Snow Kreilich, Minneapolis
- Susan Ubbelohde, LOISOS + UBBELOHDE, Alameda, California
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For over eight decades, SOM has been a leading voice in emphasizing structural poetics, or the integration of architectural and engineering efforts into built form. This mashup of rationalism and elegance was on full display at the 2017 Chicago Architecture Biennale, where they collaborated with Mana Contemporary to deliver a pop-up exhibition titled "SOM: Engineering x [Art + Architecture]," that ran from September 2017 through early January 2018 at the Ace Hotel. Among sketches, study models, and impressive structural mockup systems sat a lineup of more than 30 structural models at 1:500 scale, arranged by height. Hangzhou Wangchao Center has seamlessly grown out of this impressive survey of work—a design that exists as proof-of-concept to SOM’s design approach. Along with a robustly reinforced concrete core, the 54-story mixed use tower is defined by eight “mega-columns,” as defined by SOM, which weave back and forth as they track upwards. Secondary perimeter columns establish uniform bay spacing to the interior, connected diagonally to the primary corner columns with a Vierendeel transfer truss. Beyond creating an expressive formal shape, the structural configuration offers performance benefits such as wind load reduction and flexible column-free interior floor plates. The resulting unitized facade was carefully designed into a rationalized stepped surface to allow for flat planar glazing units. The canted curtain wall, which follows the tapered massing of the tower, is organized into floor-to ceiling units which slip past the finished floor level to create a sense of continuity from the interior. A recessed shadow box and horizontal fin assembly further articulates a reveal gap between floor plates. This carefully developed building envelope detail offers a discrete path for the building to accommodate natural ventilation.The ground floor building enclosure was engineered to accommodate 36-foot-tall glazing panels around the perimeter of the tower, dissolving the boundary between the surrounding cityscape, and highlighting a massive stone-clad core that blooms outward into the space of the lobby. The tower is currently under construction, with piles for the foundation system being driven into the ground. The project will be complete by 2021 just ahead of Hangzhou’s hosting of the 2022 Asian Games, a multi-sport event held every four years.